were IM-ing the night
after you shot this scene,
and you were basically trying
to describe to me,
this was the one moment where
Chris actually channelled Mr Shatner.
-You know, it was like...
-Yeah, well, this is the first scene
where he calls him "Jim." That was
the first time Spock calls Kirk "Jim."
And here, where he says, right here.
It felt even more
when we did it on the set,
but for some reason it doesn't feel
as much in the movie,
but I wanted it to be like, "Spock."
I wanted it to feel...
-The cadence of it, though.
-I feel it.
-Definitely.
-You do.
And you kind of go, like, "Wow."
Chris really went his own way
for the entire movie.
-Yeah.
-And I don't think anybody has said,
-"He did not do the character justice."
-"He is ripping off..."
But that was the one tip of the cap
of basically saying there is that.
And in the very end when he walks on
with the yellow shirt,
and he kind of has
this little bit of, "Bones."
-You know?
-Yeah, that's right.
-But this is again, you know...
-Great design.
Again, yeah,
I think this was Bryan Hitch,
the idea that,
the way that the gyroscope spun.
But just this whole... You know,
when you look at shots like that,
and you think, you know,
the location, the vehicle,
the whole thing is done virtually,
it's amazing.
This shot was originally
for when Kirk went and found Pike,
and we cut it, and Maryann Brandon
found a way to cut this together
with this piece,
which was a separate piece all together,
and it ended up being seamless.
This was my least favourite shot
in the movie,
-but it ended up working out.
-I love this shot.
Those things in the foreground...
It's so funny.
Those things in the foreground were
actually put in by Stefan Sonnenfeld
when we were doing
the colour correction.
I was like,
"I wish we had foreground things,"
and he just literally, on the day,
created these black fuzzy pieces
to look like hanging wires.
I also say that working on this,
I keep mentioning Maryann Brandon,
but Mary Jo Markey, our other editor,
just did an insanely brilliant job
with the film.
They would take, they would share,
each do separate sequences.
So they would each
take a reel, essentially.
And working with Mary Jo is a joy.
-She also edited the Lost pilot.
-She did.
Which, you know,
she's incredibly talented.
She is amazing. She worked on Felicity,
way back in the day.
-And Alias.
-And Alias.
She also blew open the ship here.
-She did.
-Joking.
This is one of those things where
I knew the story, I read the script,
and in the editing room,
when we watched the early cut
of this sequence,
it's so effects-dependent.
The idea of sort of really understanding
what is it that Spock is doing
to the drill or...
Well, this whole sequence, by the way,
Well, this whole sequence, by the way,
of Kirk and Nero meeting, which,
again, was not originally in the script,
it became really important.
And I think it was a great thing to do,
to finally have them
sort of physically face off.
But the whole idea here
where he just jumps down,
the other thing that wasn't planned
in the design was the multi-layers.
And when we were there...
It was funny. When I was scouting
the Budweiser plant,
there was one moment where
I was up on this one layer
and I looked and I thought,
"Wow, look how scary it is,
"how high up we are."
So we did this thing
where we had Nero jump,
and this is all done on one level.
And so this is all one level of the stage.
And when he jumps down,
we created this.
That was just on the stage,
and that was done on scaffolding,
down to the same level.
So the whole thing feels like it's
all these multi-levels,
but it was just all on one stage.
I think the idea that
this was a mining ship,
and it was a practical mining ship,
and that's what this guy did before,
just really gives
such a sense of character.
-Yeah.
-You know,
and something that